![Musical Reminiscences of an Old Amateur Chiefly Respecting the Italian Opera in England, from 1773 to 1823 [By R. Edgcumbe]](/jacket/500x500/9781230318462.jpg)
Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1827 edition. Excerpt: ... SECTION VII. 1814--1823. Change of style in music and modem operas--Rossini--Mozart--Short account of the opera during this period--Camporese. The opera in England for the last period of ten years since the departure of Catalani, will afford much less room for observation than any of the preceding, as far as the singers are concerned; for, with one single exception, there have not been any of whom I feel inclined to say much, because there is not much to be said in their praise. But so great a change has taken place in the character of the dramas, in the style of the music, and in its performance, that I cannot help enlarging a little on that subject before I proceed farther. One of the most material alterations is, that the grand distinction between serious and comic operas is nearly at an end, the separation of the singers for their performance entirely so. Not only do the same sing in both, but a new species of drama has arisen, a kind of mongrel between them, called semi-seria, which bears the same analogy to the other two that that non-descript, the melo-drama, does to the legitimate tragedy and comedy of the English stage. The construction of these newly invented pieces is essentially different from the old. The dialogue, which used to be carried on in recitative, and which in Metastasio's operas is often so beautiful and interesting, is now cut up (and rendered unintelligible if it were worth listening to) into pezzi concertati, or long singing conversations, which present a tedious succession of unconnected, everchanging motivos, having nothing to do with each other: and if a satisfactory air is for a moment introduced, which the ear would like to dwell upon, to hear modulated, varied, and again returned to, it is broken Off...
